Emma.
Edwin Arnaudin: Devil’s advocate time — Why do we have yet another version of Jane Austen’s Emma? Was the 1996 version with Gwyneth Paltrow not good enough? Or 1995’s (then) modern adaptation gem Clueless?
Bruce Steele: All due respect to Apple's and Moses's mom, but while the '96 Emma was well-received, it's not much remembered. And among Austen’s few novels — several of which are re-dramatized with some regularity — Emma seems to be the property that filmmakers believe comments most directly on present day social mores. (Hence, Clueless.) This adaptation is quite 21st century in its sassiness and yet faithfully 19th century in its narrative. I enjoyed that balancing act. Did you find it fresh?
Edwin: I did indeed! There’s so much color and energy on display under the direction of veteran music video helmer Autumn de Wilde (Jenny Lewis; Beck), as well as increased comedic pop courtesy of Bill Nighy's hypochondriac Mr. Woodhouse, Miranda Hart’s chatty-Cathy Miss Bates, and Tanya Reynolds’ especially persnickety version of Mrs. Elton. But what about our new Emma, one Anya Taylor-Joy (Thoroughbreds; The Witch)?
Bruce: You know how much I loved Thoroughbreds, and she was partly the reason. I think she’s perfect for Emma, who is, as Austen introduces her, “handsome, clever, and rich,” with just the right overlays of haughtiness and naughtiness. Like the movie itself, she exudes a contemporary air without breaking faith with the 19th century language and characterization. Nighy is a bit less concerned with 19th century credibility, which is fine for his supporting role. But what did you make of Johnny Flynn, who plays Emma’s friend and critic, Mr. Knightley?
Edwin: Flynn is likewise appealing from the start, every bit Emma’s equal thanks to his oddball independence (a gentleman on foot! *gasp*) and desire for companionship at the Woodhouse’s Hartfield home. I don’t have much experience with Flynn beyond 2018’s pretty good Beast and 2015’s Clouds of Sils Maria, where I don’t recall him at all, but I’ll certainly remember him now, especially after his handful of vulnerable moments and being the one who finally calls out Emma’s rudeness.
Bruce: Flynn was a perfect choice, and the rest of the cast is equally well matched to their roles. There are too many to cover them all, but in addition to those named so far, I’d also call out Mia Goth (High Life; A Cure for Wellness) as Emma’s clueless protege, Harriet Smith, and Callum Turner (Fantastic Beasts and Where to Find Them) as the rakish Frank Churchill. It was also good to see Merchant-Ivory veteran Rupert Graves, the sexy boy in Maurice, returning as in a jolly fatherly role. Even better: de Wilde gives enjoyable attention to the rich folks’ exasperated servants, who are barely even mentioned in the novel.
Edwin: I’ll take your word on the source material, which hasn’t interested me after Persuasion put me to sleep. Not even Pride & Prejudice & Zombies won me over — still too much snoozy Austen text! — and yet I’m pretty sure that I’ve basically adored each and every film and TV miniseries of her work that I’ve seen. de Wilde adds to that rich tradition with her crisp visuals (tip of the cap to The Bling Ring cinematographer Christopher Blauvelt), thoughtful musical cues, and fairly uptempo pace, courtesy of Eleanor Catton’s script and Nick Emerson’s sharp editing. What else about Emma. do you imagine will stay with you — beyond the intentional period in its title?
Bruce: Its general brightness: perky performances, gorgeous period costumes, and, as you point out, gorgeous photography. Its emotions are a bit more muted than, say, Ang Lee’s wonderful Sense & Sensibility, but its humor is more pronounced — appropriately for what is considered Austen’s most comic novel. It’s a great example of a faithful adaptation — much of the dialog is lifted word for word — that also constructs its own cinematic world that modern audiences will enjoy. I give it a B-plus. What’s your takeaway?
Edwin: All of the above, and a welcome addition of the female gaze. I don’t recall another version that shows Knightley’s bare bum, and yet de Wilde still manages to make the film’s women look luminous and desirable. It’s an all-around treat, simultaneously classic and modern, and easily one of the year’s best features thus far. A-minus for me.
Grade: A-minus. Rated PG. Now playing at Biltmore Grande, Carolina Cinemark, and the Fine Arts Theatre
(Photo: Focus Features)
